Recording opinions about a work provides insight into sensibilities
and artistic values of different periods.

Opinions of works may be in the form of direct quotations
from artists, authors, or critics, or may consist of paraphrases
or summaries of opinions. All critical responses should be
accompanied by specific references to the sources in which
they were found. The fact that a work is not mentioned in
a particular source may also be of significance.

Critical evaluations of works of art or architecture over
time may form a separate history of opinion. Responses to
a work of art or architecture may change quite radically in
the course of its history, depending on the preconceptions
and biases of the particular period. In addition, an individual
artist, architect, author, or critic may change his or her
position with regard to the same work. The same is true of
public opinion; while a work may have been highly regarded
during one period, during another it may fall from favor,
even to the point of being removed from public view or altered
to conform to the tastes or mores of the particular time.
Such responses provide a unique perspective on the history
of taste and social attitudes.

The range of opinions expressed about a work of art makes
it possible to assess its importance, influence, and reputation
at different periods of time. A record of critical commentary
"informs the iconography and iconology [of a work of art]
and is particularly relevant, as it is often written by artists."
[1]

A record of the critical opinions voiced about a work also
aids in the study of the history of art criticism. For example,
"twentieth-century views of nineteenth-century academic art
...generally have nothing to do with the art, but have a lot
to do with twentieth-century opinion and how/why it is so
shaped. This interplay is very important in my scholarly studies,
because it allows critical studies of art criticism." [2]

RELATED CATEGORIES and ACCESS

The opinions of the artist at the time of the creation of
a work should be noted in the subcategory CREATION - CREATOR
- STATEMENT.

Political, social, economic, or religious events associated
with the work should be noted in the category CONTEXT.

Texts that mention the work, or that were consulted in writing
the description of it, should be noted in the category RELATED
TEXTUAL REFERENCES.

Works that were influenced by or had an influence on the
work being described, or that were commented upon in relation
to the work in question, or that constitute a reaction or
response to the work, should be noted in the category RELATED
WORKS.

19.1. Critical Comment

DEFINITION

A quotation or paraphrase of an opinion expressed about a
particular work.

EXAMPLES

"No defense can, however, be offered for the choice
of features in the left-hand figure of Mr. Millais' Dove
Returning to the Ark. I cannot understand how a painter
so sensible of the utmost refinement of beauty in other
objects should deliberately choose for his model a type
so far inferior to that of average humanity, and unredeemed
by any expression save that of dull self-complacency." [3]

Gertrude Stein said of Picasso's famous 1905-1906 portrait
of her: "For me it is I and it is the only reproduction
of me which is always I for me."[4]

DISCUSSION and GUIDELINES

Optional: Transcribe or paraphrase the opinion.
It is optional to include the CRITICAL RESPONSES category,
but if you do record a comment here, it is required to also
record the source in CITATIONS.

Form and syntax
Transcribe direct quotations when possible. Transliterate
quotes that are not in the Roman alphabet, as necessary. Record
the transcription so that it accurately reflects case and
abbreviations.

Fill in abbreviated text if necessary for clarity, but place
all editorial additions in square brackets to distinguish
them from the actual transcription.

When a full transcription is impractical or impossible, paraphrase
the opinion.

When the quotation is in a language other than that of the
cataloging institution, give the quote in the original language;
include a translation in the language of the catalog record,
if possible.

TERMINOLOGY/FORMAT

Free text: This is not a controlled field.
However, transcriptions, lacunae, illegible words, line breaks,
etc. should be indicated in a consistent way. Index any important
information in appropriate other subcategories.

Optional: Note the type of document that contains
a critical response to a work.

TERMINOLOGY/FORMAT

Controlled list: Control this subcategory with
an extensible controlled list, including the terms in Examples
above and other terminology as necessary. Sources of terminology
could include the AAT (especially Information Forms hierarchy),
ACRL/RBMS Genre Terms, ISO 5127:2001: Information and documentation--Vocabulary,
LC Descriptive Terms for Graphic Materials, Moving Image Materials,
or Revised Nomenclature.

Authority: Ideally, this subcategory would
be linked to the PERSON/CORPORATE BODY AUTHORITY, which contains
names and biographical information for all persons and corporate
bodies associated with the object/work. The authority may
be populated with terminology from published sources, such
as ULAN, Canadiana Authorities, and LC Name Authorities.

Free text: If this category is free-text, the
use of consistent forms of personal and corporate names is
recommended.

19.4. Comment Date

DEFINITION

A description of the date on which a particular author, artist,
or critic made a comment about a work.

EXAMPLES

12 December 1991
15th century

DISCUSSION and GUIDELINES

Optional: Record the date when the comment
was made. When an exact date is not available for a particular
critical response, a less precise chronological designation,
such as sixteenth century or after 1492, may
be used.

Form and syntax
Follow the applicable rules for display dates in CREATION
- CREATION DATE.

TERMINOLOGY/FORMAT

Free text: This is not a controlled field.
Maintain consistent capitalization, punctuation, and syntax
where possible. Index the dates in the controlled EARLIEST
and LATEST DATE subcategories.

19.4.1. Earliest Date

DEFINITION

The earliest date when a particular author, artist, or critic
made a comment about a work.

EXAMPLES

1991-12-12
1400
-0200

DISCUSSION and GUIDELINES

Optional: Record the earliest year indicated
by the display DATE. Record the day and month, if known. Always
record years in the proleptic Gregorian calendar in the indexing
dates fields.

Form and syntax
Always record years in the proleptic Gregorian calendar in
the indexing dates fields. It is optional to record EARLIEST
DATE; however, if you record a value here, you must also record
LATEST DATE. Follow the applicable rules for dates in CREATION
- CREATION DATE - EARLIEST DATE.

TERMINOLOGY/FORMAT

Controlled format: Date information must be
formatted consistently to allow retrieval. Local rules should
be in place. Suggested formats are available in the ISO Standard
and W3 XML Schema Part 2.

ISO 8601:2004 Representation of dates and times. International
Organization for Standardization. Data Elements and Interchange
Formats. Information Interchange. Representation of Dates
and Times. Geneva, Switzerland: International Organization
for Standardization, 2004.

XML Schema Part 2: Datatypes, 2001. www.w3.org/TR/xmlschema-2/.

19.4.3. Latest Date

DEFINITION

The latest date when a particular author, artist, or critic
made a comment about a work.

EXAMPLES

1991-12-12
1499
9999

DISCUSSION and GUIDELINES

Optional: Record the latest year indicated
by the display DATE. Record the day and month, if known.

Form and syntax
Always record years in the proleptic Gregorian calendar in
the indexing dates fields. It is optional to record EARLIEST
DATE; however, if you record a value here, you must also record
LATEST DATE. Follow the applicable rules for dates in CREATION
- CREATION DATE - EARLIEST DATE.

TERMINOLOGY/FORMAT

Controlled format: Date information must be
formatted consistently to allow retrieval. Local rules should
be in place. Suggested formats are available in the ISO Standard
and W3 XML Schema Part 2.

ISO 8601:2004 Representation of dates and times. International
Organization for Standardization. Data Elements and Interchange
Formats. Information Interchange. Representation of Dates
and Times. Geneva, Switzerland: International Organization
for Standardization, 2004.

XML Schema Part 2: Datatypes, 2001. www.w3.org/TR/xmlschema-2/.

19.5. Comment Circumstances

DEFINITION

A description of the historical context and circumstances
in which an opinion was offered or written.

EXAMPLES

Ruskin was lecturing at Oxford.

In the novel The Recognitions by William Gaddis, there
is a long passage on Piero della Francesca's Adoration of
the Christ Child (London), which is described as being in
a remote monastery in Spain. The author uses the "unfinished"
quality of the picture to set a scene of destruction, as
one of the monks, who seems to be painstakingly painting
the picture, turns out to be destroying it with maddening
skill. This description brings out the painterly qualities
of the work, while suggesting a new, threatening element.
[5]

DISCUSSION and GUIDELINES

Optional: Record a note describing the context
in which a particular opinion of a work of art was expressed.

It may also describe the importance or role of the author
or of the work in which the opinion appears, and may include
interpretations of scholars or art historians, or of the person
writing the description of the work of art or architecture.

Form and syntax
Use natural word order. You may use phrases or complete sentences,
but always begin the note with capital letter and end it with
a period. Use sentence case (not all capitals or title case).
Capitalize proper names. Avoid abbreviations. Write the note
in the language of the catalog record (English in the United
States). Names and other words in foreign languages may be
used within the note when there is no commonly used English
equivalent. Use diacritics as appropriate.

19.6. Remarks

DEFINITION

Additional notes or comments pertinent to information in
this category.

DISCUSSION and GUIDELINES

Optional: Record a note containing additional
information or comments on this category. Use consistent syntax
and format. For rules regarding writing notes, see DESCRIPTIVE
NOTE.

FORMAT/TERMINOLOGY

Free-text: This is not a controlled field.
Use consistent syntax and format.

19.7. Citations

DEFINITION

A reference to a bibliographic source, unpublished document,
or individual opinion that provides the basis for the information
recorded in this category.

DISCUSSION and GUIDELINES

Optional: Record the source used for information
in this category. For a full set of rules for CITATIONS, see
RELATED TEXTUAL REFERENCES - CITATIONS.

TERMINOLOGY/FORMAT

Authority: Ideally, this information is controlled
by citations in the citations authority; see RELATED TEXTUAL
REFERENCES.

19.7.1. Page

DEFINITION

Page number, volume, date accessed for Web sites, and any
other information indicating where in the source the information
was found.

DISCUSSION and GUIDELINES

Optional: For a full set of rules for PAGE,
see RELATED TEXTUAL REFERENCES - CITATIONS - PAGE.

FORMAT/TERMINOLOGY

Free-text: This is not a controlled field.
Use consistent syntax and format.

[quote from a published book]
Comment:"Michelangelo was, of course, a homosexual.
If Leonardo was the painter of the blissful maternal smile,
then Michelangelo was the sculptor of the male body in struggle,
or paternal power, and the father-son relationship. Many
of his best-known images -- David, God creating Adam on
the Sistine ceiling, the representations of the prophets,
the slaves, the Moses and the Son of Man returning in the
Last Judgement -- spring from this nexus. At differing moments
of his life, the focus shifted from son to father and back
again. The male nude became for him the instrument of expression;
he was notoriously uneasy with the unclothed female body.
Thus the haunting statue of Night is transparently that
of a youth with female elements less than lovingly added
on... The sub-theme of Michelangelo's iconography -- as
manifested in the pietàs and sculptures of the Virgin
and Child -- is that of his longing for the lost or absent
mother."[7]
Author: Peter Fuller
Citations: Fuller, Peter. Art and Psychoanalysis.
London: Writers and Readers Publishing Cooperative,
1980.Page: 41

[translated quotation, quoted on a Web site]
Comment:Theo noted the quality of the Irises
and submitted it to the Salon des Indépendants in
September 1889, writing Vincent of the exhibition: "[It]
strikes the eye from afar. It is a beautiful study full
of air and life."Author: Theo van Gogh
Citations: J. Paul Getty Museum. [online] Los Angeles:
J. Paul Getty Trust, 2000-. http://www.getty.edu/art/gettyguide/
(1 January 2003)Page: accessed 10 February 2005

[1]
Judith Kirshner, University of Illinois at Chicago, in AITF
Review Committee questionnaire, 3 April 1993.